American cinematographer (Jan-Dec 1961)

1 6mm one,' 35mm cameras in stock for immediate delivery. Arriflex 16mm and 35mm sound p roof blimps available. 400' magazines. Synchron ous motors. New and used MACO VIEWFINDER O A Professional viewfinder — you shoot with both eyes open. • Same design and operation as used on feature work. • Special mounting brackets for Cine Special 1 , 11, Bolex H-16, Bolex Octameter, B & H 70 Series, B & H Specialist, Arriflex. ® Includes inside angle lens & adapter, plus mattes for two lens’ fields. $145.00 COLORTRAN CINEMASTER CONVERTER • 50,000 watts of photographic light on half the normal amperes of consumption. • 3200 -3400 J Kelvin dependability for color reproduction. ® professional style operation — push-button switches control a studio of lighting power Cinemaster 11 — 50,000 watts $309. CO ” — 40 C00 waits $258 00 ” — 25,000 walls $168 00 Send for New 1961 Catalog ARRIFLEX 16 NEW BOOK REPORTS Motion-picture Production for Indus¬ try, by Jay E. Gordon. The Macmillan Company , 60 Fifth Ave., New York 11, N.Y. $8.00. This book is intended as a source of guidance for the man or woman re¬ sponsible for performing one or more of the many assignments in the often complicated task of producing an ef¬ fective film. As the author points out in the preface, “although it is aimed primarily at in-plant film-production operations, the hook’s application does not end there. Much in these pages will be of assistance to the commer¬ cial film producer who is engaged to make a film in an industrial plant and to the student who elects to follow' a course leading to industrial film pro¬ duction." The book is not a treatise on art ; nor is it a specialized book on camera technique. It is a complete guide to the successful operation of a film de¬ partment. The author offers specific suggestions for coping with the large and small problems encountered every day. He brings many years experience as an industrial film maker to the writing of this book. The procedures he outlines for preparing, producing, and distributing motion pictures have been proven in practice. For the management person con¬ cerned with a new program of film, Motion-Picture Production for Indus¬ try answers many practical questions: How large a film staff do you need? How should you budget your film money? Should you buy or rent equip¬ ment? How can work forms be de¬ signed for maximum effectiveness? For the film maker, author Gordon delves into such matters as choice and use of equipment, recruiting of ac¬ tors, when to use animation, techniques of aerial photography, missile photog¬ raphy, promotion of your films and the role of the film library. Helpful chapters detail film coding, editing, direction, camerawork, and acting for the documentary film. A 20-page glossary of vital film terms is included. The author, prior to his untimely death in an automobile accident, was Supervisor of Motion Pictures and Audio-Visual Aids for North Ameri¬ can Aviation, Inc., Autonetics Divi¬ sion, and wms a past-president of the Industry Film Producers Association. Television In The Public Interest, by A. William Bluem, John F. Cox, and Cene McPherson. Hasting House Pub¬ lishers, 151 East 50th St., New York. N.Y. $6.95. To serious photographers and pro¬ ducers of motion pictures, television is both ally and competitor. The prog¬ ress, innovations and technical devel¬ opments of the medium are therefore of continuing interest to those whose business or avocation is making mo¬ tion pictures. This book provides practical in¬ formation and advice on an area al¬ most totally neglected heretofore in the literature of television — how the layman may make better use of the TV medium for public service causes and projects. Aiming to bridge the gap between the television professional and the non¬ professional with something vital to say and how, this volume supplies needed background to those given re¬ sponsibility for an organization’s ef¬ forts in this medium. It suggests what television can help to accomplish; it gives a behind-the-screen acauaintance with a station and its facilities; it affords guidance in initial planning, approaching a station, detailed plan¬ ning and scripting, performance and audience promotion. Because motion picture films are today a vital component of TV pro¬ gramming and provide most of the TV commercials we see, makers of films should find much of value to them in every one of the book’s ten chapters. The chapter, “Using Film and Vid¬ eotape” dwells on the importance of using 16mm black-and-white film for economy production of program ma¬ terial; explains the place of both single and double-system sound, and explores the potentials of the ama¬ teur film as program material ■ AMERICAN CINEMATOGRAPHER 406